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Transcript (Reprinted with Permission PBS.Com) Narrator: It Was The Transcript (reprinted with permission PBS.com) Narrator: It was the golden age of silent film and the most famous actress, the most adored woman in the world was America's Sweetheart, Mary Pickford. Eileen Whitfield, Biographer: Mary Pickford was the first modern celebrity, the first celebrity to be created through moving images. Tino Balio, Film Historian: She invented acting for film. Eileen Whitfield: She was the first person to get out there and show everyone how to do it. Narrator: In a fairytale romance, she married Hollywood's leading man Douglas Fairbanks. Together they invented the myth of Hollywood come true. With Charlie Chaplin, she and Fairbanks began United Artists and changed movie history. Tino Balio: She was a woman in a man's world and she played the game of business and beat the moguls at their own game. Scott Eyman, Biographer: She set the parameters for movie stardom. And she also was the first to pay the price for movie stardom. And it's a terrible price. Narrator: In a handful of years she lost it all. The fans forgot her, forgot the glow of her image, and the magical presence of the world's first superstar. She began as plain Gladys Smith. At fifteen she dreamed of stardom, of glamour, of a career on the Broadway stage. Jeanine Basinger, Film Historian: She wanted to better herself. So her sights were set on working for the great and famous impresario, David Belasco. Robert Cushman, Film Historian: She began to haunt David Belasco's office. She would go everyday, wait all day, only to be told to come back tomorrow. Narrator: One day in the summer of 1907, she decided not to wait quietly. Robert Cushman: She stormed the office, and started yelling at the top of her lungs, "My life depends on seeing Mr. Belasco." Narrator: Her outburst finally won her an audition. "So you want to be an actress, little girl?" Belasco asked. "No sir," she replied. "I have been an actress. I want to be a good actress now." Gladys's encounter with the most important man on Broadway was all she hoped for. It was a meeting that would change the rest of her life. Gladys grew up in Toronto, Canada in a family with no father and no money. Her father died when she was just five. Her mother Charlotte struggled to raise her children, Gladys the eldest, Lottie and Jack. Scott Eyman: Basically Charlotte was looking at destitution. And Gladys remembered her mother in the middle of the night sewing in order to put food on the table. Narrator: Desperate, Charlotte considered giving Gladys up for adoption to their family doctor. Gladys was excited - she would share her newfound riches, like a pony and cart with Lottie and Jack. Charlotte gently explained that she would no longer be part of the family. Eileen Whitfield: So she asked her mother, she said "Don't you love me anymore?" And Charlotte said, "I will never stop loving you, but I cannot give you the things this man can give you." And Gladys said, "Then I don't want the pony. I don't want a cart. I want you." Narrator: From that day, on Gladys and Charlotte were bound by a fierce determination that nothing would ever break up their family. But they needed a way to survive. Charlotte learned that the local theater wanted children for their next production. The pay was $8.00 a week. Jeanine Basinger: Charlotte naturally hesitated, because first of all Gladys was a child. And secondly, in those days there was this puritanical attitude toward the stage, theater people, actresses. It wasn't socially respectable. It was almost considered a slight step above prostitution. Narrator: Charlotte had no choice. They needed the money. In January 1900, seven year-old Gladys made her stage debut. She played "Big Girl" in a Victorian melodrama called The Silver King. Eileen Whitfield: There's a scene where some other schoolchildren in the play want to play with Sissy Denver, and Big Girl won't hear of it, she says, "Don't go near her, girls. Her father killed a man." Well, just for that moment, Gladys Smith felt this attention and what it feels like to have an audience in the palm of your hand. And she loved it. Narrator: Soon the whole family were actors. They played bit parts in shabby, third rate touring companies. It was an exhausting life of endless trains, stale food and rough audiences. There was no time for school, or friends, or fun. At first they traveled together, but many companies would only hire Gladys. Alone on the road, she learned to negotiate with producers and boarding house owners. At twelve, Gladys was the family breadwinner. She began to have the nightmare that would haunt her for the rest of her life. She went out on stage and there was no audience. Eileen Whitfield: Gladys would have been fearing every day that there might not be an audience; there might not be a play tomorrow. Because there was never enough money, and because of the horrible instability of that family, it must have been quite terrifying. The responsibility that Gladys was carrying for herself and for her brother and sister was tremendous. Narrator: In the summer of 1907, after seven years on the road, she finished a play in New York and set out on her pursuit of impresario David Belasco. He was immediately impressed. Scott Eyman: Gladys already had that kind of glow that critics call "star quality." The eye went to her. Whether she was, uh, appearing on stage or just walking into the room, everybody would say, "Oh, what a beautiful child!" Narrator: Belasco offered her a part in his next production. But he insisted she change her name to something more glamorous. They went through the names of her family. Gladys Smith emerged from the meeting a triumphant "Mary Pickford." Mary Pickford made her Broadway debut at the Belasco Theater. She was thrilled by the beauty of the space, and the affluent audiences. Pickford didn't have star billing but she was certain that it was just a matter of time. But even on Broadway theater work was seasonal. When the play closed in March 1909, Mary faced months without work. Charlotte knew there were jobs in a new form of entertainment that was sweeping the country: the movies. For workers and new immigrants movies seemed like magic and they only cost a nickel to watch. Respectable society viewed them with suspicion. Jeanine Basinger: If, uh, theater was the bottom, movies were the bottom of the bottom. Movies were possibly the gutter. Narrator: As a Belasco actor, Mary thought they were far beneath her dignity. Robert Cushman: But it was Charlotte's orders, and so she dutifully went down to the Biograph Studios, and the director, D.W. Griffith walked out into the lobby. Narrator: D.W. Griffith was an innovator, trying to shape moving pictures into a new art form. At the same time, he had to keep the studio profitable by churning out three films a week. Scott Eyman: She was slumming by going down there, pure and simple. So she wasn't about to be deferential. As it happened, Griffith was impressed. Eileen Whitfield: He was thinking, how beautiful her eyes were, and how they had languorous possibilities. What Mary Pickford remembered him saying was, "You're too little and you're too fat." Finally, within one conversation he had hired her. Narrator: The next day she appeared as an extra in a short comedy. Soon she was playing major roles. "The thing that most attracted me was the intelligence that shone in her face." Griffith later said. "She has a most remarkable talent for self-appraisal." And, as he would learn, for business: Sixteen-year-old Mary swiftly negotiated double the going rate of $5 a day. Most films at the time ran 10 to 15 minutes and were shot in one to two days. They told simple stories in wide shots so the actors could be seen head to toe. For Mary and the Biograph crew filming was long and hard but it was also fun -- a continual scramble of improvisation and accident. Jeanine Basinger: The great thing for Mary working with Griffith was watching him use camera movement, think about the editing process, the telling of the story. Here is a time when movies are being invented and she was in on the ground floor, but at the highest possible level. And she learned. Narrator: She studied her performances carefully and realized that the camera demanded a new style of acting. Scott Eyman: In Mary's era the prevailing acting method was the Delsarte method, specific emotions were indicated by fairly specific gestures. Anger would be you know the narrowing of the eyes; make them burn. Distress would be (gesturing.) Narrator: Pickford changed that. Tino Balio: She invented acting for film. She understood that you have a close, intimate relationship with the camera, and more subtle, more naturalistic gestures would be very effective. She stands out because she has more vibrancy, she has more immediacy, and she actually conveys more emotion in the process. Narrator: In her first year at Biograph, Pickford appeared in more than sixty films. She played mothers, deserted wives, prostitutes, and virgins. She realized that she was basically a comic or light actress. "It was a shock" she said, "but in stature, temperament and general appearance, I was not fitted for great emotional roles." She began to fight with Griffith to interpret parts the way she wanted.
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